Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content . JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact email@example.com. ART AND PROGRESS VOLUME VI MAY 1915 NUMBER 7 ■ -=* A RELIEF FRANCES GRIMES THE WASHINGTON IRVING HIGH SCHOOL A RELIEF BY FRANCES GRIMES BY ADELINE ADAMS THE Washington Irving High School, noted for its progressive ways of meeting the complex, changing, crying needs of secondary education for girls, has had at its head a man in whom imagina- tion and common sense are united with a large ideal of citizenship. The great corridor at that High School's brim was something more than a corridor to him. He saw it and made others see it in the added r6le of a Municipal Gallery, where works of art or of craftsmanship could be freely shown for the use and behoof of citizens, present and future. There was a reasonable hope that the battalions of young girls daily passing through this gallery might enter their classrooms or return to their homes, attended by visions of beauty bearing directly upon their lives. That hope is now being fulfilled, or to speak more cautiously, the exhibi- tions are being held. Not less important than the exhibitions are the permanent and structural adorn- ments of such a gallery. Exhibitions wax and wane, and their effects counter- balance and supplement each other; but the school gallery itself remains a constant influence. Artists and other citizens have noted this truth, and now, through the generosity of private donors, acting in cooperation with the Board of Education and the Municipal Art Society, an interest- ing scheme of decoration is being executed for the Washington Irving School. Mr. Barry Faulkner's mural paintings for this purpose are at present well advanced, and will later speak for themselves in their treatment of scenes from New Neth- erlands history. The sole sculptural feature of the decoration is an overmantel in toned plaster. This was entrusted to Miss Frances Grimes, a sculptor well fitted by genius and training to solve the COPYRIGHT 1015 BY THE AMERICAN FEDERATION OF ARTS. ALL RIGHTS RESERVED 215 MUNICIPAL ART GALLERY. WASHINGTON IRVING HIGH SCHOOL COURTESY OF THE EDISON MONTHLY l any-sided problem presented to her in her theme of the Sleepy Hollow legend, to be told in sculpture, as a vital, har- monious part of the ornamentation of a hall which is at once the foyer of a Girls' High School and a Municipal Art Gallery, a fireside clime and a forum. Miss Grimes has the inborn aptitude for the sculptor's way of recording the strength and sweetness and mystery of life, visible or invisible. Her gift, early noted and en- couraged by Herbert Adams, was later de- veloped during shining years of hard work in the studio of Augustus Saint-Gaudens, a master both sympathetic and severely critical. That studio was a workshop where all sorts of sculpture-problems were constantly being carried to solution before the eyes of the students, and with the help of their hands. Parts and wholes, figures and friezes, medals and monuments were touched and treated with impartial love. It would have been a dull disciple who would not soon have learned in this place that a chosen moderation in scale does not necessarily spell mediocrity in result, and that a little medal the size of a child's hand 216 may diffuse more art over the earth than a whole army of monuments of great tonnage. Naturally the vexed question of sculpture in its relation to architecture was one that here received its various answers. Miss Grimes earnestly gave her mind and hands to all such matters, little and large. In accordance with the desire of Saint-Gaudens she was selected after his death to complete the important Albright caryatids, which were among the latest designs that en- grossed him. A firm foundation of work in our own country gave peculiar value and significance to periods of independent study and travel later enjoyed by Miss Grimes in France, Italy and Greece. In fact, one of the final stages in the progress of the relief here con- sidered was marked by an interesting so- journ at Athens. Though the sculptor returned to her clay with that priceless acquisition, "a fresh eye," it is to be noted that she did not make her Sleepy Hollow maidens more Greek than the Greeks them- selves by loading them with tokens of Early Minoan civilization, Periods I, II or III, now much in evidence in our sculpture A RELIEF BY FRANCES GRIMES 217 exhibitions and further popularized by Mr. Granville Barker's Midsummer Night fairies. Not that I am insensible to the charm of that civilization, or of any other. We still have much to learn and enjoy from both Cretans and Chinese; and for that very reason it would be a pity if our young artists should let zeal outrun discretion, and should weave and wave Cretan and Chinese patterns into unearned discredit before our wearied eyes. The fireplace panel assigned to Miss Grimes is just opposite the main entrance, and in its scale suggests the use of life-size figures. The shape is not the easiest in the world to fill; it is hardly wide enough from side to side for a processional treatment, as in a frieze, and by the same token it is too wide to be the Golden Oblong which poets feign is the very happiest frame for an ad- venture in art. No matter! Miss Grimes has regarded such difficulties as partly imaginary and wholly surmountable, and has disposed her trio of young figures in a group which sufficiently considers the rigors of the game, and at the same time diffuses that "air of enchantment" the legend bespeaks. For me, this relief remains a most satisfying example of modern Amer- ican sculpture. It delights because of the fitness of theme and treatment to the pur- pose specified, the architectural strength of the design, the dignity, delicacy and sure- ness of the modeling, the harmonious rhythms of the figures and draperies; in short, because of its general state of grace as a modern classic. By classic, no one necessarily means something old, dug-up, resuscitated, distinctly Early Ming or Middle Minoan; people knew, long before Sainte-Beuve and Pater laid down the law for them, that the works of antiquity are classic, not because they are old, but be- cause they are energetic, fresh, "dispos." This work of Miss Grimes is fragrant with unobtruded knowledge, and is beautiful through what it hides as through what it tells. On its monumental side (for even a modest relief must in certain circumstances have such a side), it is linked with large designs previously executed by her, while in its more intimate aspect it recalls her many successful relief-portraits of dis- tinguished personalities. New York is a village with a strong pace of its own, and in its secondary schools, the classroom studies in art must of necessity be brief and to the point. Teachers are well aware that such studies should be something more than a series of short, sharp shocks or a sheaf of dissolving views, and now, more than ever before, they are trying to bring the fugitive, close-stripped art lesson of the classroom into friendly rela- tions with the abiding, unlimited art lesson of the world. The Metropolitan Museum offers invaluable help here; in its halls school children are invited to be at home among masterpieces, to feel at happy ease where beauty is. And for the nation's sake, it is well that girls in the "largest high school in the world," future home-makers or wage- earners, can gather around their school hearthfire in the good company of serenity and beauty such as Miss Grimes has achieved in this decoration. A NEW KIND OF ART SCHOOL BY IRENE WEIR I IKE the fabled God Janus, a modern _J Art School should face in two direc- tions. It must look backward over the vista of years gathering up in its glance the finest achievements of the artist down through the ages — (we use the word advised- ly, for art is as old as man). At the same time it must look forward, considering both the present and the future, if the student is to achieve a place of honor in the world of affairs. The prevailing idea that art is a luxury for the few, is false. That it is a necessity for every one is an easily proved fact. The artist must be alive — alive to his fingertips — and with those fingertips he must shape the imaginings of his brain, the ideals of his age into concrete form.